Umetnički pristupi u očuvanju nasledja Druge Jugoslavije

Abstract

Обухватајући различите савремене уметничке праксе које се ослањају на наслеђе социјалистичке Југославије, у овом раду истраживаћемо како уметност постаје својеврстан простор памћења једног периода, али и поље интерпретације и покретања дискусије. Стога ћемо се у раду бавити како примерима уметника-колекционара који сакупљају предмете настале у доба социјалистичке Југославије и од њих креирају асамблаже, инсталације и чак личне музеје, тако и оних који ово наслеђе критички тумаче у својим делима, узимајући улогу истраживача или уметника који активистички приступа дисонантном наслеђу овог периода. Закључићемо, најзад, да је уметност један од ретких оквира кроз који и негирана, потиснута сећања постају видљива.

The main hypothesys of this paper is that contemporary art practice often uses memory as a row matherial for the artwork creation. The memory on the Second or Socialist Yugoslavia, meaning the period of Josip Broz Titos’ regime is still very vivid between living witnesses of the time while this heritage awakes interests of many researchers and scholars nowadays, but creative individuals as well. However, when expressing through different media, in an institutional context or independently, openly referencing certain historical events, criticizing established value systems and contemplating on the past – artists assume the role of the other in heritage interpretation, a self-proclaimed guardian of memory. The generation of artists active today in the region is the one who experienced the youth during the Socialist period, but also the collapse of 1990s. Referring to different examples of contemporary art practices which are based on the Socialist Yugoslav heritage, in this paper we examine how art becomes a particular space of memory, but also a field of interpretation and initiation of discussion. Therefore, we concentrate on the examples of artists who collect objects produced during the Yugoslav Socialist period and create assemblages, installations and even personal museums out of them; as well as on the ones who observe this heritage critically taking the roll of a researcher in their works; but also those artists who approach to the dissonant heritage of this period as activists. Finally, we will conclude that art many times is one of the rare lenses through which the numerous intimate, neglected and suppressed memories can become visible. While, there is no attempt to provide a comprehensive overview of works of art that preserve the memory on Yugoslavia in this paper, we just seek to point out a few different methods by which artists become the heirs of an era, relying on memories embodied in old object and collections, abandoned buildings, or those that still function but now in a completely new context, films, discarded photographs, or personal emotional reflections.